A History of English Romanticism in the Eighteenth CenturyBeers, Henry A. (Henry Augustin)
History
A History of English Romanticism in the Eighteenth Century
Beers, Henry A. (Henry Augustin)
English literature -- 18th century -- History and criticism; Romanticism -- Great Britain -- History -- 18th century
There is an almost epic coherence about the ballads of the Robin Hood
cycle. This good robber, who with his merry men haunted the forests of
Sherwood and Barnsdale, was the real ballad hero and the darling of the
popular fancy which created him. For though the names of his confessor,
Friar Tuck; his mistress, Maid Marian; and his companions, Little John,
Scathelock, and Much the miller's son, have an air of reality,--and
though the tradition has associated itself with definite
localities,--there is nothing historical about Robin Hood. Langland, in
the fourteenth century, mentions "rhymes of Robin Hood"; and efforts have
been made to identify him with one of the dispossessed followers of Simon
de Montfort, in "the Barons' War," or with some still earlier
free-booter, of Hereward's time, who had taken to the woods and lived by
plundering the Normans. Myth as he is, he is a thoroughly national
conception. He had the English love of fair play; the English readiness
to shake hands and make up when worsted in a square fight. He killed the
King's venison, but was a loyal subject. He took from the rich and gave
to the poor, executing thus a kind of wild justice. He defied legal
authority in the person of the proud sheriff of Nottingham, thereby
appealing to that secret sympathy with lawlessness which marks a
vigorous, free yeomanry.[32] He had the knightly virtues of courtesy and
hospitality, and the yeomanly virtues of good temper and friendliness.
And finally, he was a mighty archer with the national weapons, the
long-bow and the cloth-yard shaft; and so appealed to the national love
of sport in his free and careless life under the greenwood tree. The
forest scenery give a poetic background to his exploits, and though the
ballads, like folk-poetry in general, seldom linger over natural
descriptions, there is everywhere a consciousness of this background and
a wholesome, outdoor feeling:
"In somer, when the shawes be sheyne,
And leves be large and long,
Hit is full mery in feyre foreste
To here the foulys song:
"To se the dere draw to the dale,
And leve the hillis hee,
And shadow hem in the leves grene,
Under the grene-wode tre."[33]
Public-domain text, read in full here on John Shaqi.
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